"Center of the World" - directed by Wayne Wang

05.17 - Posted by Editor

Leaving Las Vagueness   A review of "The Center of the World," Wayne Wang's new digital film   By Konrad Aderer

5.17.01 -- The late 20th century spawned a new species, mostly a myth: the Successful Geek. No matter how big a loser you were, if you had some computer skills, all you needed to do was get in on an internet startup, wait until the IPO and you'd be a multi-millionaire. Links Respond to this review by posting your comments below!   Extremely flashy "Center of the World" website        The premise of "The Center of the World" is that even in the age where technology promises instant affluence, love cannot be bought. Our geek-hero is Richard Longman, about whom we know little except he seems to be the CTO of a startup, and he's incapable of having a human conversation. But his unlimited wealth buys him lapdances with a top-of-the-line stripper named Florence, played by Molly Parker ("Waking the Dead"). Apparently this is the only way he can get access to a real live girl and so naturally he falls in love with her. He asks her to accompany him on a three-day excursion in Las Vegas in exchange for $10,000. She refuses at first, then proposes conditions she will thereafter refer to as "the rules," which amount to typical I'm-not-a-hooker stuff: No talking about feelings. No kissing on the mouth. No penetration. She's only required to be with him between 10 pm and 2 am, and they're to sleep in separate rooms. So not only can't this guy buy love, he can't even buy sex. But since money means nothing to him and he's a loser, he seals the deal.     It's a timely setup, and in the opening moments cinematographer Mauro Fiore immerses us in the tawdry opulence of Las Vegas as a fitting backdrop for this story of an emotionally attenuated dweeb who will try to use his technology-spawned affluence to win the heart of the woman of his dreams. Plus, for those of us who like women, here's another way of looking at it: we've got a hot stripper, a guy with unlimited cash, and an NC-17 rating. Seems like a no-brainer, right? "So why is it so godawful boring? The fault rests squarely on the writing."        So why is it so godawful boring? The fault rests squarely on the writing, for which Mr. Wang shares credit with four others, though the "screenplay" credit goes to Ellen Benjamin Wong. As a team they waste precious time near the beginning just beating us over the head with the fact of Richard's tonguetiedness, inflicting on us some of the lamest conversations ever devised. What does he have to say when they're finally having a semi-civilized date? "You look good." We're treated to this illuminating scene again at the end of the film. Sepia-toned flashback upon flashback of curiously untitillating scenes from Pandora's Box (the movie-friendly name of the strip club where Florence dances) drones on, displaying meticulous art direction but no information except that you're not allowed to touch a girl when she's lapdancing, which we already know from "Go."     Eventually the film seems to realize it's time to generate moments of high drama. Since so few possibilities were set up in the beginning, out of nowhere emerges an awkward subplot involving Florence's voluptuous friend Jerri. We learn she actually does trade sex for money, but only because she needs to support her sick child. The climax hits with Jerri shouting at Florence that she's no different from her. Groan.      Peter Sarsgaard, who played Chloe Sevigny's murderous boyfriend in "Boys Don't Cry," gives a intensely modulated performance, bringing a rumpled, scruffy, sleepy-eyed mien to his role that belies his natural dynamism as an actor. But he comes alive at moments to reveal Richard is just a child who plays with grown-up toys. His unabashed glee when he takes a roller coaster ride with Florence gives us a chance both to like and pity his character, for the object of his affections sits stone-cold at his side.      But for all the interesting behavior he creates, Sarsgaard is hamstrung by, among other things, the deliberate vagueness of his circumstances. We never get an idea what he actually does for his company, or that he has any feeling of responsibility or goals with respect to his job. About the only thing he's allowed to do in this murky scenario is spend money, which he does at certain "plot" points, but this action has no meaning because he's an incalculably rich dotcommer like we've all heard about. What passes in this film for reality intrudes when he receives angry emails for missing an IPO meeting in order to take this trip. This news has no effect on him though, and then the IPO goes through despite his absence and he magically nets $20 million. "These obligatory events fall flat because they happen for no reason. In fact, it's soon clear nothing in this film happens for a reason."        As for Florence, we need only recall "Sex, Lies and Videotape" to know that prolonged proximity of a masturbating loser to a beautiful woman during which self-disclosure and laughter occurs will inevitably awaken romantic feelings in her. So Florence breaks her first rule by telling the disturbing story of her experiences rescuing people and animals from locked cars. Then in an apparently improvised scene Mr. Wang seems to give Saarsgard permission to be charismatic for a few minutes and we see Richard become the life of the party. This provokes Florence to do things like kiss him passionately, then break away, repeating "we have to stick by the rules." But these obligatory events fall flat because they happen for no reason. In fact, it's soon clear nothing in this film happens for a reason. The only thing to do now is wait to see if Florence will break the third rule so we get our money's worth.      "The Center of the World" has been aggressively marketed as a high-tech successor to "Last Tango in Paris." The poster proffers a naked, red-lit woman sucking a lollypop with her legs in the air, and for weeks a furious print-ad campaign has assailed hapless readers with erotic images directing them to the film's website, which contains slick soft-core animation of naked women and no information whatsoever. Many people who have no idea who Wayne Wang is will come to the film hoping to see some flesh slapping. I'm not above enjoying some hot NC-17 action, but this film utterly fails to please on that level as well. If you're looking for some pornographic thrills here, you will be more than disappointed; you'll be ready to commit violence. Trust me.      Though a film sold at the crotch level this way leaves the director open to charges of cynical pandering, Wayne Wang's previous career puts him well above accusations of crass commercialism. And it's clear that he genuinely wanted to say something momentous about society at the close of the 20th century, as evidenced by how he's injected ideas into the dialogue. Being at the keyboard of a computer, Richard ruminates to Florence early on, is like, y'know, being at the Center of the World or something. Later, Florence triumphantly gurgles that the Center of the World is a woman's... center. Richard's closing narration breaks into poetry: "You don't need to create a frontier; you claim a piece of space. The world breaks in waves at your fingertips." These are intriguing concepts, but they don't come to life here. They just float like raisins in a soggy bowl of bran flakes   Konrad Aderer is the first actor to join the Workshop. He'll be seen in the independent 35mm features "P.O.V." and "Helium," which should both be completed in 2001. The rest of his actor's bio is in the Asian American Actor's Database. You can check him out pretty thoroughly in Woody Han's DV short "Reverse Shot" by asking for it at eveo.com. Meanwhile he's writing and directing his own short, and if he doesn't finish it in 2001 you can give him a smack.   Comments Post a comment Name: Email Address: URL: Comments: Remember info?